Ochosi's domain as hunter is kept alive in Yoruba culture through a distinct and highly developed oral art form, Ijala, chanted poetry composed and performed chiefly by hunters themselves and closely associated with the worship of the warrior orisha, above all Ogun but extending naturally to Ochosi as a fellow patron of the hunt. An ijala performance draws on a large stock of traditional formulas, praise names for animals, invocations of the hunter deities, boasts of skill and accounts of the hunt, which a skilled chanter recombines and improvises for the occasion, a living, orally transmitted poetic tradition that scholars of Yoruba oral literature, notably Adeboye Babalola, have studied and recorded at length since the mid twentieth century as one of the major genres of traditional Yoruba verbal art. Hunters historically formed their own guilds with their own festivals and their own ijala repertoire, performed at gatherings, funerals of fellow hunters and ceremonies honoring the hunt deities, embedding Ochosi's domain of unerring pursuit directly into a specific, named genre of sung poetry rather than leaving it only as an abstract attribute of the orisha.
Ijala remains a living tradition among Yoruba hunter communities and has also been studied and performed as a recognized strand of Nigerian oral literature more broadly, carried into written scholarship, recordings and staged performance well beyond its original hunting-guild context. This atlas notes the tradition's existence and its connection to Ochosi's domain as a fact about Yoruba oral art rather than as an invitation to reproduce or perform material that belongs to its own practitioners and communities.